Bioskop.Inc

Just tried it on 60D & get 11/12 seconds in 10bit DR!
If you've got a 5D3, this is what you can get:
"So i tried 3K 2,35:1 23,975fps- 14 bits - 134 frames
                                               -12 bit - 294 frames
                                               -10 bit - over 3 minutes recording, didnt check longer
1920x648 (16:9 after stretch) 60 fps     -14 bit 308 frames
                                                            - 10bit 1425 frames
1920x648 50fps seems to be continous in 10 bit.

1920x1080 37fps - 14bit - 239 frames
                             - 10bit - over minute, didnt check longer.

highest possible resolution 3584x1320 23,976 10bit - 160 frames (vs 61 with 14bits)."
 

Just tried it on 60D & get 11/12 seconds in 10bit DR!
If you've got a 5D3, this is what you can get:
"So i tried 3K 2,35:1 23,975fps- 14 bits - 134 frames
                                               -12 bit - 294 frames
                                               -10 bit - over 3 minutes recording, didnt check longer
1920x648 (16:9 after stretch) 60 fps     -14 bit 308 frames
                                                            - 10bit 1425 frames
1920x648 50fps seems to be continous in 10 bit.

1920x1080 37fps - 14bit - 239 frames
                             - 10bit - over minute, didnt check longer.

highest possible resolution 3584x1320 23,976 10bit - 160 frames (vs 61 with 14bits)."
 

The OP, in the ML link, states that the bits are being compressed.
 
They haven't ported ML Raw to the 80D yet, in theory it is possible, as @Justin Bacle stated, but hasn't been done yet.
Think the only cameras that it is working on are 5D2 & 60D - but you need to compile the code if you want to try it.
I'm no coder, so just waiting for someone to do it.
Personally, I'd hold off buying anything till it works properly & people start to test it - 5D2 might be the better buy, but I like the flip screen...!

One reason for using vintage lenses is that they aren't as clinically sharp (across the whole frame) as modern ones & so you won't be prone to running into the dreaded Mr Moire, too often.
If you insist on using these type of lenses, then yes a Black ProMist filter will help soften the image & reduce the risk of moire.
But, & there's always a but, it won't always eliminate the worst cases.
 
Although not shot with the Pocket, this person uses a Black ProMist all the time & the results are great:
 

Over at BMCuser, someone posted that they dropped their Mini 4.6k, it landed on the handle & cracked the casing, causing damage to the mother board inside - BM wouldn't repair it! However, it does produce lovely images, if used by someone who knows what they're doing...
I personally think that they'll keep going, but will revert to smaller packages (box like cams) - if they can figure out how to heat sink in a smaller package (the same user took his Mini apart & the majority of the camera is dedicated to the heat sink module). You've got to remember that BM cameras are budget cameras & they will have to cut corners in quality/build to keep the prices competative & low.
You've got to admit that the images coming from these cameras can be awesome & I hope that they struggle through, just like RED did at the beginning. I believe that in another 10yrs time, we'll be talking about BM cameras in the same breath as RED & maybe ARRI.
The biggest problem that they have at the moment is lack of user knowledge & this is due to the low price of some of their cameras - for every great user, there are at least 10 numpties whose lack of filming knowledge gets exposed as soon as they pick one up. They are not DSLRs & shouldn't be mentioned in the same sentence, let alone compared to them.
If you don't get this, then DO NOT buy one, because you're probably the type of person that hasn't the time or patience to learn how to use them.
Just look at all the [stupid BS] hate aimed at the Pocket camera: poor battery life, bad screen etc... 45mins time limit for battery & SD card whilst filming PR. The screen is by a country mile not the worst i've ever used & I seem to manage very well nailing focus - I wear glasses, which adds an extra dimension of difficulty to the whole thing. 
And these same people talk about wanting to replicate a filmic image, just imagine them using a film camera that has a max filming time of 12mins - people with no skill or patience to learn will complain about anything if you let them, it's how they cover up for their short comings. It's a crying shame, but it's their loss........

I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2.
The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.

People can be strange & do silly things, but still theft is theft. The thing that really bugs me is that they ripped it from my Vimeo account a year ago (it was PW protected & I only left it like that for a week, afterwards it went completely private) - so they knew what they were doing & the theft was intentional. Now whether they actually thought about ripping it in order to upload it at a later date is something I'll never know, but the fact that they waited a year suggests that it might have been their long term plan. The fatal flaw in their plan is that I have been keeping tabs on them, as I had a feeling something like this was going to happen - 6th sense?
I am so pissed at the moment that I'm holding off with any direct contact, need a cool head first. Luckily a good friend of mine knows the manager (I do too, but again really pissed & will probably tear his head off) & is going to have a quiet word - my mate's appalled at what's happened and we both think that the manager is unaware of what they've done, so I think that will be a good first step. If he doesn't act, then I'll send the email I've prepared - it'll make them think twice, hopefully pay up & I know I've got the money to fuck them if I so wish.
The stupid thing about their behaviour is that i've got loads of their unreleased music, might even have their YouTube PW somewhere & they know that i'm good enough to twist their words to make a great Spinal Tap type doc that'll make them look like idiots (shit I made them sound good, when they weren't). Again, pissed & need a cool head. 

SOLD

The way that you've written this sounds like it is a problem, can you throw up an image or 2?
One thing that the Super Taks are renowned for is their thin plane of focus when wide open, but am assuming that this isn't the case....
Also, as Hans said, Diopters will introduce more distortion to the anamorphic qualities & this can produce an overly soft extra-stretched effect. Good quality diopters (doublets, not singlets) tend to control this more, but can still be present. 
I've found this to be a problem & now now tend to use longer taking lenses with my Iscorama, when i want to do close-ups etc... I also find getting too up close & personal with real people can be off putting for everyone concerned - objects don't get put off!

The really incomprehensible thing is the main guy is so paranoid about people stealing his music/musical ideas that he's never released anything & then he does something like this!
I'm getting a contract drawn up & it will give them permission to post a new version on the internet (YouTube etc...), but that the rights to sell the doc for financial benefit will remain mine. As you said, I'll get them to sign off on being able to use any footage for a showreel etc...
To be honest, I thought I was done with these jokers & had moved on, until Facebook came to the rescue with a new window about people I might know and this idiots face staring at me - can't express how much I hate Facebook (amusing to begin with & then it became an info grabbing underhand organisation that sells your personal info to the highest bidder) and then this happens!
NB. I am not American, nor do I live in America and therefore, have no interest whatsoever about what is legal in the USA. Furthermore, I would never record someone in order to entrap them (unless it is for journalistic purposes) or have it/use it as some sort of proof, which it isn't. I would only use e-mail as a form of communication, as it now works in the same respect as letters do/did - get everything in writing, since it becomes a legal document & sending it is as good as signing it.

Yeah, I'm with you on the Canon Colours. I have seen some good things done with the GH cameras & the GH5 will be interesting, but only if it lives up to the specs.
The thing that bugs me most about the BM cameras is the colour, not really crazy about it. But because they spit out RAW/ProRes you can really go to town & actually get the look/colours that you want without your footage turning to mush - great for learning proper colour grading.
I personally found using a DSLR really hard at first, simply because I had to learn a new way of filming - well, accepting the limitations of a shit codec with digital tech. BM Pocket placed me back into my comfort zone & it was a relief to use a camera that I understood/would do what I wanted it to - it was like turning back the clock.
Go with what your gut says - there's no right or wrong, just what's best for you.

The way that you've written this sounds like it is a problem, can you throw up an image or 2?
One thing that the Super Taks are renowned for is their thin plane of focus when wide open, but am assuming that this isn't the case....
Also, as Hans said, Diopters will introduce more distortion to the anamorphic qualities & this can produce an overly soft extra-stretched effect. Good quality diopters (doublets, not singlets) tend to control this more, but can still be present. 
I've found this to be a problem & now now tend to use longer taking lenses with my Iscorama, when i want to do close-ups etc... I also find getting too up close & personal with real people can be off putting for everyone concerned - objects don't get put off!

The Micro's ergonomics is why I stayed faithful to the Pocket - it's all there in a tiny package. I think my next purchase will be a MB speedbooster, as it'll make it easier to use (better stability, which isn't bad now) & give me close to S35.
I'm kinda hoping that BM will make a smaller, more DSLR friendly shaped BMCC - can only live in hope!
Which Canon camera? Wait till the 5D4 comes out & then pick up a cheap 5D3.
It's a no brainer as you'll get Magic Lantern for free, which will give you RAW CDNG continuous filming (use it or not, it'll be there for you to change your mind) & all the other missing bits'n'bobs that ML have added to the party. Can't underestimate how useful the ML hack is for filming/photography - it's not just about adding RAW filming, there's so much more that it adds to your camera.
HOWEVER.....Just not so sure c-log is the way to go with DSLRs. But this might be how people are using it & then thinking that they can grade the footage to death! I might be wrong, but I took kidsrevil's advice (back in the day) & still feel that you can get good result's straight out of the box with a DSLR (& some minot tweeking).
Here's something i shot a few years ago on my Canon 60D - I used an early version of a VisionColor PP & just desaturated the footage, as I got the settings in-camera slightly wrong. It's all natural [window] light & 1 practical above the mirror. Also, the DPX conversion ended up being a red herring (at the time I was on FCP7 & it didn't handle H264 footage very well) - I've revisited the footage recently in FCPX & it still looks great. The Anamorphic squeeze is slightly out too!
 

Got a huge smile on my face right now  - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable.
There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone).
Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

Visioncolor's profiles, for Canon, are the best i've ever used, VisionTech being the pick of the bunch - only needs minor tweeking & you're done.
As far as BM cameras are concerned, they are 10bit Prores & not 8bit H264 - so of course their Film profile is going to be miles ahead of the majority of cameras on offer. However, if you haven't got the time to learn how to shoot a proper camera, then their Video profile setting has been vastly improved from its humble beginnings & produces a great image if you simply don't have the time to grade a lot or are used to grading 8bit H264 (NB. The bonus being that it won't fall apart like H264, because it's still 10bit ProRes).
The real problem with the Micro, it seems, is that improved battery & 60p simply doesn't seem to out weigh the bad ergonomics - whatever that is meant to mean for a drone camera?

Got a huge smile on my face right now  - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable.
There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone).
Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

Got a huge smile on my face right now  - 45mins battery time, well they kept that quiet! Exactly the same on the Pocket....but you can actually pick it up & go without spending a fortune on the extras that are needed to make it useable.
There's a guy over at Cinematography.com that shared quite a few tips to get the best out of your battery life on the Pocket, not all of them logical but they work: turn down the screen brightness etc...and the strangest was, Do Not turn it off between takes, as that drains more of the battery. So much BS spoken about the Pocket & once you actually Learn (yes, I know, it's a dirty word nowadays, but it's an important aspect of life) how to use it properly, it is so much easier to use than a DSLR (cause your image worries are gone).
Ease of Use vs. Fucking Awesome Image - well I know what i'll pick everytime.....

Visioncolor's profiles, for Canon, are the best i've ever used, VisionTech being the pick of the bunch - only needs minor tweeking & you're done.
As far as BM cameras are concerned, they are 10bit Prores & not 8bit H264 - so of course their Film profile is going to be miles ahead of the majority of cameras on offer. However, if you haven't got the time to learn how to shoot a proper camera, then their Video profile setting has been vastly improved from its humble beginnings & produces a great image if you simply don't have the time to grade a lot or are used to grading 8bit H264 (NB. The bonus being that it won't fall apart like H264, because it's still 10bit ProRes).
The real problem with the Micro, it seems, is that improved battery & 60p simply doesn't seem to out weigh the bad ergonomics - whatever that is meant to mean for a drone camera?

Good choice in taking lens, I've found that Super Taks are a great sharp taking lens with Anamorphics.
As far as the extra stretched background, that's a bonus - oval out of focus areas is why a lot of us use anamorphics (Yes, it's not the flares! You get over them very quickly once they ruin a great shot & by ruin, I mean obscure what you really want people to be looking at, & yes that's not the flares).

Yeah a drone camera... How many of the actual users fly it? And to be honest, if that is improved battery life, then the Pocket must be worse with battery than everybody claims, because I was lucky to get 45 minutes out of a battery, on the Micro, if I shut down the camera between takes. And even then the battery drains quickly unless you remove it. 
But other than a few minor annoyances (IR Filter, lens selection) the ProRes image alone is the best 1080p image for the money and the Raw is just mind blowing.
I probably would have enjoyed the Pocket better, even with the frequent battery changes. And if I can ever find one for the right price, I will surely buy it and use it as designed... No screens, no external batteries, just an OIS lens or a C-Mount and monopod.

Visioncolor's profiles, for Canon, are the best i've ever used, VisionTech being the pick of the bunch - only needs minor tweeking & you're done.
As far as BM cameras are concerned, they are 10bit Prores & not 8bit H264 - so of course their Film profile is going to be miles ahead of the majority of cameras on offer. However, if you haven't got the time to learn how to shoot a proper camera, then their Video profile setting has been vastly improved from its humble beginnings & produces a great image if you simply don't have the time to grade a lot or are used to grading 8bit H264 (NB. The bonus being that it won't fall apart like H264, because it's still 10bit ProRes).
The real problem with the Micro, it seems, is that improved battery & 60p simply doesn't seem to out weigh the bad ergonomics - whatever that is meant to mean for a drone camera?

Bear in mind that in your case with an 85mm lens the rear of the adapter limits the aperture, so you are shooting at f/2.4 and not f/2.  You would need an Iscorama 42 to shoot at f/2 with an 85mm lens.

I've got a 54 & it's all about the taking lens, nothing to do with the Iscorama. The 54 is less forgiving than the 36 or 42 (the sharpest Iscorama) & you really have to choose your taking lens carefully, if you want a sharp image. Not sure why anyone is stating that you can't shoot lower than f2.8 with an Iscorama because you can, but also not sure why anyone would want to shoot at f1.2.
The Core-DNA is really for dual focus Anamorphic attachments. If you've got a single focus Anamorphic, you'll be better off spending the money on some good Diopters - achromatic doublets, not the singlets.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough.
Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings).
Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.

The only thing you can do is ask what is acceptable to use (they'll normally have a list of cameras) & rent for this one job, if it pays or gets you more work then consider buying something to keep getting broadcast work. Also, ask if what you're using will be good enough.
Having worked for the BBC, I know that broadcast standards are pretty high & it is more to do with how they have to deliver the footage. Therefore DSLR footage just isn't going to cut it in most instances, because they have to compress the footage into a deliverable format & in most cases it will fall apart - hence the 100Mbit/s min requirement. The special permission aspect is almost certainly to do with the fact that they'll have to spend extra time/money getting your DSLR footage up to scratch & they really don't like doing this - they'll see it as a waste of time & money, unless your piece is something that is going to get a lot of interest/viewers (ratings, it's all about ratings).
Don't let something like renting out a camera for a job put you off - this is your break & treat it as such.